SECOND SUNDAY IN LENT February 28, 2010 + 3:45 p.m.

Evening Prayer

+ OPENING +

PRELUDE (Notes on page 10)

Concerto for Harpsichord, Flute, and Violin in A minor, BWV 1044 J. S. Bach

(1685–1750) I. Allegro

II. Adagio ma non tanto e dolce

III. Tempo di alla breve

Steven Wente, harpsichord

Donna Port, flute Betty Lewis, violin

We stand, facing the candle as we sing.

SERVICE OF LIGHT

HYMN OF LIGHT: page 143 in the front of the green Lutheran Book of Worship (LBW)

2

+ PSALMODY +

We sit.

PSALM 141: page 145

Women sing parts marked 1. Men sing parts marked 2.

All sing parts marked C.

Silence for meditation is observed, then:

PSALM PRAYER

L Let the incense of our repentant prayer ascend before you, O Lord, and let your lovingkindness descend upon us,

that with purified minds we may sing your praises with the Church on earth

and the whole heavenly host, and may glorify you forever and ever.

C Amen.

MOTET: Lord, For Thy Tender Mercy’s Sake Richard Farrant

(c. 1530–1580) Lord, for thy tender mercy’s sake, lay not our sins to our charge,

but forgive that is past, and give us grace to amend our sinful lives,

to decline from sin, and incline to virtue,

that we may walk with an upright heart before thee, this day and evermore. Amen.

Silence for meditation follows the motet.

VOLUNTARY: Ist Gott für mich, so trete Helmut Walcha

(If God Himself Be for Me) (1907–1991)

The offering is received during the Voluntary

and assists in defraying costs of the Bach Cantata Vespers ministry.

Your generosity is appreciated.

We stand.

HYMN: If God Himself Be for Me (green) LBW #454 Concertato by Michael D. Costello

(b. 1979)

The choir will sing stanza three.

3

+ WORD + We sit.

READING: Ephesians 5:1–9

Therefore be imitators of God, as beloved children, 2and live in love, as Christ loved us and gave

himself up for us, a fragrant offering and sacrifice to God.

3But fornication and impurity of any kind, or greed, must not even be mentioned among you, as is

proper among saints. 4Entirely out of place is obscene, silly, and vulgar talk; but instead, let there be

thanksgiving. 5Be sure of this, that no fornicator or impure person, or one who is greedy (that is, an

idolater), has any inheritance in the kingdom of Christ and of God.

6Let no one deceive you with empty words, for because of these things the wrath of God comes on

those who are disobedient. 7Therefore do not be associated with them.

8For once you were darkness,

but now in the Lord you are light. Live as children of light — 9for the fruit of the light is found in all

that is good and right and true.

L The Word of the Lord.

C Thanks be to God.

READING: Luke 11:14–28

4Now he [Jesus] was casting out a demon that was mute; when the demon had gone out, the one

who had been mute spoke, and the crowds were amazed. 15But some of them said, "He casts out

demons by Beelzebul, the ruler of the demons." 16Others, to test him, kept demanding from him a

sign from heaven. 17But he knew what they were thinking and said to them, "Every kingdom

divided against itself becomes a desert, and house falls on house. 18If Satan also is divided against

himself, how will his kingdom stand? — for you say that I cast out the demons by Beelzebul. 19Now if I cast out the demons by Beelzebul, by whom do your exorcists cast them out? Therefore

they will be your judges. 20But if it is by the finger of God that I cast out the demons, then the

kingdom of God has come to you. 21When a strong man, fully armed, guards his castle, his

property is safe. 22But when one stronger than he attacks him and overpowers him, he takes away

his armor in which he trusted and divides his plunder. 23Whoever is not with me is against me, and

whoever does not gather with me scatters.

24When the unclean spirit has gone out of a person, it wanders through waterless regions looking

for a resting place, but not finding any, it says, 'I will return to my house from which I came.' 25When it comes, it finds it swept and put in order.

26Then it goes and brings seven other spirits

more evil than itself, and they enter and live there; and the last state of that person is worse than

the first."

27While he was saying this, a woman in the crowd raised her voice and said to him, "Blessed is the

womb that bore you and the breasts that nursed you!" 28But he said, "Blessed rather are those who

hear the word of God and obey it!"

L The Word of the Lord.

C Thanks be to God.

HOMILY The Rev. Dr. Frederick A. Niedner

4

CANTATA: Widerstehe doch der Sünde (Stand Firm Against Sin), BWV 54

Translation of the German text and notes corresponding to each movement are below.

Background notes for the cantata are found on pages 8-9 in this worship folder.

1. ARIA

Widerstehe doch der Sünde, Stand steadfast against sin,

Sonst ergreifet dich ihr Gift. Or its poison thee will seize.

Laß dich nicht den Satan blenden; Be thou not by Satan blinded,

Denn die Gottes Ehre schänden, For God's glory to dishonor

Trifft ein Fluch, der tödlich ist. Brings a curse of fatal doom.

The cantata begins with a da capo aria in three sections, that is, an A B A plan

that concludes with the repetition of the first (A) section. The writing takes the

form of a contrapuntal trio for two violins and voice in which the violin lines

imitate each other with the voice also participating, but much more freely.

Pulsing repeated notes played by the two violas and the basso continuo provide a

reliable rhythmic cohesion to the movement.

The believer is warned to stand firm against sin and not be blinded by Satan.

Some have seen in the combination of the generally pleasant harmonic

movement of the writing and the occasional harsh melodic dissonance, the

contrast between the attractive allure of sin and the dangers of its dire

consequences.

2. RECITATIVE

Die Art verruchter Sünden The shape of vile transgression

Ist zwar von außen wunderschön; In sooth is outward wondrous fair;

Allein man muss But yet one must

Hernach mit Kummer und Verdruss Receive with sorrow and dismay

Viel Ungemach empfinden. Much toil and woe thereafter.

Von außen ist sie Gold; The outside is pure gold,

Doch, will man weiter gehn, But, should one look within,

So zeigt sich nur ein leerer Schatten Appears nought but an empty shadow

Und übertünchtes Grab. And whited sepulcher.

Sie ist den Sodomsäpfeln gleich, It is the Sodom's apple like,

Und die sich mit derselben gatten, And those who are with it united

Gelangen nicht in Gottes Reich. Shall never reach God's heav'nly realm.

Sie ist als wie ein scharfes Schwert, It is just like a sharpened sword

Das uns durch Leib und Seele fährt. Which doth our soul and body pierce.

5

The warnings against the superficially attractive qualities of sin continue and

even intensify in a recitative accompanied only by the basso continuo. While sin

appears to be outwardly wunderschön (wondrous fair), it is actually verruchter

Sünden (vile transgression). It is the übertünchtes Grab (whited sepulcher) cited

in Mark 23:27, referring to the falsity of the Pharisees. The Sodomsäpfeln

(Sodom’s apples) described by the historian Josephus are apples of the wicked

city of Sodom that were temptingly attractive on the tree, but turned to ashes

when picked. The recitative concludes with a suddenly active basso continuo as

the singer makes a brief but dramatic reference to sin in words from Luke 2:35

(following the Nunc dimittis), in which Simeon notes the sword that will pierce

the body of Mary through the death of her son.

3. ARIA

Wer Sünde tut, der ist vom Teufel, Who sin commits is of the devil,

Denn dieser hat sie aufgebracht. For he it was who brought it forth.

Doch wenn man ihren schnöden Banden But if one gainst its haughty fetters

Mit rechter Andacht widerstanden, With true devotion stand steadfastly,

Hat sie sich gleich davongemacht. Shall it at once from here take flight.

The cantata concludes with the assurance that the Devil will flee those who stand

steadfastly against sin. The four-part texture of a string quartet is achieved as

violins and violas unite into one part each along with the continuo and the

vocalist. The fugue-like writing presents the two string parts and the voice with

a persistent chromatically descending single theme that quickly dissolves into

the rapid motion of sixteenth-notes. The continuo mostly marches along in

steady eighth-note motion that provides a reassuringly solid harmonic

foundation for the upper voices.

Silence is observed, then:

L In many and various ways God spoke to his people of old by the prophets.

C But now in these last days he has spoken to us by his Son.

We stand and sing.

GOSPEL CANTICLE: page 147 in the front of the green LBW

+ PRAYERS +

LITANY: page 148 in the front of the green LBW

6

The following collects are prayed:

L O God, from whom come all holy desires, all good counsels, and all just works:

Give to us, your servants, the peace which the world cannot give,

that our hearts may be set to obey your commandments;

and also that we, being defended from the fear of our enemies,

may live in peace and quietness; through the merits of Jesus Christ our Savior,

who lives and reigns with you and the Holy Spirit, God forever.

C Amen.

L God of majesty, whom saints and angels delight to worship in heaven:

We give you thanks for your servant Richard Hillert,

for his years of faithful service and his work as a composer of sacred music for your church. Bring comfort to all those who mourn, that casting all their sorrow on you,

they may know the consolation of your love.

Be with those who make art and music to your glory, that with joy we may glimpse your beauty.

Finally, bring us with Richard and all your saints to the fulfillment of that hope of perfection

which will be ours as we stand before your unveiled glory.

We pray in the name of Jesus Christ our Lord.

C Amen.

L Lord, remember us in your kingdom, and teach us to pray:

C Our Father, who art in heaven, hallowed be thy name,

thy kingdom come, thy will be done, on earth as it is in heaven.

Give us this day our daily bread;

and forgive us our trespasses, as we forgive those who trespass against us;

and lead us not into temptation, but deliver us from evil.

For thine is the kingdom, and the power, and the glory, forever and ever. Amen.

BENEDICAMUS DOMINO

BENEDICTION

7

HYMN: When in the Hour of Deepest Need Concertato by Richard Hillert

(1923–2010)

DISMISSAL

A Go in peace. Serve the Lord.

C Thanks be to God!

All are welcome to greet the family of Richard Hillert in Fellowship Hall following the service.

A funeral service of Holy Communion will be held at Grace tomorrow at 7:00 p.m.

Time for visitation will also preceed the service beginning at 4:00 p.m.

In celebration of Bach’s 325th birthday, the prelude to next month’s Bach Cantata Vespers

begins at 3:30 p.m. with an organ recital by Dr. Robert D. Hawkins and Bach’s Brandenburg Concerto #1.

C 1

C 2

c 3

C 4

c 5 C 6

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BACKGROUND OF THE CANTATA

Wiederstehe doch der Sünde was written relatively early in Bach’s career, at

a time when he was developing his mastery of the cantata form. It was

composed sometime during his employment as organist and chamber

musician in the Weimar court, and its first performance may have been in

1713. While it was originally designated for Oculi, the former name of the Third Sunday in Lent, by the author of the text, it may have been performed

on another Sunday or in ogni tempo (for any time). The Oculi date would

have called for an initial performance on April 15, 1715. (The Weimar court allowed cantata performances during Lent, in contrast to Leipzig churches,

where they were not presented during the penitential season.)

The Epistle for the Third Sunday in Lent is Ephesians 5:1–9 with its

prescription for a godly life. The Holy Gospel is Luke 11:14−28, in which

Jesus is accused of casting out devils through the Prince of the Devils. The

cantata libretto was written by Georg Christian Lehms, the court librarian in Darmstadt. The text clearly describes the wily nature of sin, denounces it, and

exhorts the sinner to resist temptation. Thus it is a commentary on the Epistle

for the day and an appropriate theme for Lenten penitential worship. The

scoring is for alto soloist, strings (2 violin parts, 2 viola parts, cello), and

basso continuo (keyboard and bass). The cantata consists of two arias with an

intervening recitative, and there is no concluding chorale. Capitalizing on the

freedom of modern performance practice of Baroque works, the cantata will

be performed today in the key of G rather than the original lower key of E-

flat.

Performance of the alto solo by a countertenor today marks a first for such a male voice in the nearly forty years of Bach cantata vespers at Grace. It is an

entirely authentic assignment since the roster of the Weimar court at the time

of the performance of Wiederstehe doch der Sünde included a male Alt (alto) or countertenor.

Terminology among scholars on the subject of male treble singers has

changed through the years and is not completely uniform even today. Mostly,

a countertenor is considered the English name for an adult male singer who,

through vocal training, uses the head voice (sometimes called falsetto) to sing in a higher range than the typical male voice, which is often called “chest

voice.” The usual range of a countertenor approximates the female alto

range, although with training he can achieve the range of a soprano. Today, countertenor or Alt singers often perform historically informed revivals of

music of the Renaissance or Baroque periods.*

9

Portions of this liturgy reprinted from Lutheran Book of Worship, copyright © 1978 by Augsburg Fortress and With One Voice, copyright © 1995 by Augsburg Fortress.

Graphics reprinted from Sundaysandseasons.com. All Rights Reserved. All of the above used by permission of Augsburg Fortress liturgies license #38423. Notes on the prelude and cantata provided by Carlos Messerli. Used by permission.

Translation of cantata text copyright © Z. Philip Ambrose, translator. Web publication: http://www.uvm.edu/~classics/faculty/bach. Used by permission.

LEADING WORSHIP TODAY

The Rev. Dr. Frederick A. Niedner, homilist

The Rev. Bruce K. Modahl, liturgist

The Rev. Michael D. Costello, cantor

Laura Zimmer, organist

Carl Grapentine, assistant conductor

Steven Rickards, countertenor

Grace Lutheran Church Senior Choir

Betty Lewis, Mark Agnor, Carol Yampolsky, Lou Torick, violins

Naomi Hildner, Vannia Phillips, Claudia Lasareff-Mironoff, Ralph Boyd, violas

Susan Ross, cello

Judith Hanna, double bass

Donna Port, flute

Steven Wente, harpsichord

Laura Zimmer, continuo

The names of modern choral voice parts bear on the subject. In early part-

singing the cantus firmus (firm song or melody) of the piece was assigned to

a tenor, who thus “held” the melody of the composition, a contratenor bassus, who sang below the tenor, a contratenor altus, who sang above the

tenor, and a superius (soprano) who sang the highest voice part. Thus, curiously, today the lowest female voice in a choir is called “alto,” although

the name is derived from a word and practice that meant “high.”

Carlos Messerli

*Countertenors are not to be confused with castrati, who often appeared in Baroque

Italian operas (including those of George Frederic Handel). Castrati were castrated pre-

pubescent youth who, upon reaching adulthood, were able to sing treble ranges with great power, clarity, and virtuosic dexterity. In so doing some achieved a popularity in that day

that can only be equated with the fame and adulation accorded some modern rock stars.

The practice is outlawed today.

10

BACKGROUND OF THE PRELUDE

This triple concerto was probably written in its present form sometime after

1730, no doubt for Bach’s Collegium Musicum concerts, for which he had

accepted the leadership in the previous year. In some of his finest writing for

instruments, Bach utilized as source material two of his works for organ: the

Prelude and Fugue in A minor (BWV 894) for the first and last movements; and the middle movement of the Organ Sonata No. 3 (BWV 527) from his

six organ trio sonatas for the present middle movement. It is a mark of

distinction for Bach that he could metamorphose works of high quality in one medium into something equally splendid in another. The old work is utterly

transformed by means of expanded instrumentation and imagination.

The instrumentation of the Concerto calls for a solo transverse (modern)

flute, solo (concertato) violin, solo harpsichord (cembalo), strings, and basso

continuo (keyboard and bass). The work abounds with contrasts of soloists

and full ensemble, passage work, and texture, all typical of a Baroque

concerto.

Through much of the Allegro movement one or more of the soloists are

featured as a concertino that contrasts with the ripieno of full ensemble with

continuo. The motion throughout is mostly that of rapidly flowing sixteenth note triplets in 4/4 time. At times the first ensemble violin doubles the solo

violin. But in a setting of ostensibly equal soloists, the harpsichord dominates

with brilliant passage work, including dazzling thirty-second note lines set to the simple pizzicato accompaniment of all the other instruments.

The gentle second movement, adapted from an organ trio sonata, is scored

for the three soloists alone. The notation, Adagio ma non tanto e dolce (Slow,

but not too slow, and sweetly), is an unusually detailed tempo indication by Bach. It is remarkable to hear how Bach expands the three lines of the organ

score into the four that include the flute, violin, and the two lines of the bass

and treble of the harpsichord.

The divided, duple meter of the final movement again highlights the

virtuosity of the keyboard player, but the Baroque contrasts of dynamics,

texture, and touch (legato and staccato) abound. Surprisingly, the harpsichord is given a completely solo cadenza just before the final rush to the concluding

cadence.

Carlos Messerli

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BIOGRAPHIES

BETTY LEWIS, violinist, received her B.M. from Chicago Musical College at Roosevelt

University as a student of Elaine Skorodin. She is an active free lancer in Chicago on both violin

and viola and a long-time member of the Bach Cantata orchestra at Grace. In the summer, Ms.

Lewis is on the faculty of the Birch Creek Music Performance Center and is a member of the

Peninsula Music Festival in Door County, WI. Betty maintains a full teaching schedule in violin

and viola and conducts the school orchestras at Francis Parker School in Chicago.

DONNA PORT, flutist, is an active freelance musician in the Chicago area and maintains a

private flute studio. She is an adjunct faculty member at Concordia University, River Forest, IL,

and provides flute instruction in local area band clinics and is a member of the Take Note!

woodwind ensemble. Since 1999 she has been the Choral Director at the Beacon Hill Retirement

Community in Lombard, IL. She previously taught flute and conducted flute ensembles at the

Shuey Music Education Centers in Mount Prospect and Wheeling, IL, and also served for two

years as the part-time General Manager of the Symphony of Oak Park and River Forest. Donna

received her B.M. in flute performance from Auburn University, Auburn, AL.

STEVEN RICKARDS, countertenor, has received international acclaim as one of America’s finest

countertenors. In 2000 Rickards took part in the premiere of John Adams's El Niño at the

Châtelet opera in Paris. Rickards performed in subsequent performances of this work and made

many other appearances in the United States and abroad. He has sung with Joshua Rifkin and

the Bach Ensemble, at Carnegie Hall with the Oratorio Society of New York, in France as a

soloist with The Festival Singers under the direction of Robert Shaw, and with Paul Hillier and

the Theatre of Voices. Rickards was the was the soloist in the American premiere performance

of Michael Nyman's Self-Laudatory Hymn of Inanna and Her Omnipotence with the

Netherlands Wind Ensemble at Lincoln Center's Alice Tully Hall. He has recorded for

Chanticleer, Decca, Dorian, Four Winds, Gothic, Harmonia Mundi, Koch, Naxos, Newport

Classics, Smithsonian, and Teldec labels. Rickards lives in Indianapolis where he teaches at

Butler University, the University of Indianapolis, and sings regularly with The Choir of Men

and Boys at Christ Church Cathedral. He received is doctorate from Florida State University.

STEVEN WENTE is Professor of Music and Organist to the Chapel of Our Lord at Concordia

University Chicago, where he teaches organ, music history and related courses. He serves as

chair of the music department and coordinates the Master of Church Music and the Master of

Arts in Music programs. He also is minister of music at United Lutheran Church, Oak Park,

Illinois. He holds degrees from Concordia University Chicago and Northwestern University. His

organ teachers have included David J. Wilson, Herbert Gotsch, Robert Lodine, Richard Enright,

and Wolfgang Rübsam. He keeps an active schedule as a teacher, workshop leader, and

recitalist. He is active in the Association of Lutheran Church Musicians (ALCM) and the

American Guild of Organists (AGO). He has been a presenter at the Institutes on Liturgy,

Preaching, and Church Music (LCMS) and at conferences of the ALCM. He has participated in

a summer study seminar in France and in Switzerland on the organs and organ music of these

countries. He is a composer of organ music and has contributed to several professional journals

and books in the area of music and liturgy. His wife Susan is also a graduate of Concordia, River

Forest, with the BA and the MCM degrees. They have two adult children.

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+ IN MEMORIAM +

Evelyn and Pete Haase

Howard Hallman

Matthew Hofmaier Heim

Richard Hillert

Marj Koenig

Arthur and Alma Kolb

Sarah Moeller

JoAnn E. Oexeman

Melvin Rotermund

Anita Schardt

Kenneth and Elaine Thoms

BENEFACTOR

Leonard and Judy Berghaus

Bill and Susan Bogner

Karl and Daniele Bruhn

Meg Busse

Carl and Liz Grapentine

Robert and Kathryn Jandeska

John Kolb

Rev. Bruce and Jackie Modahl

Judith Reinhardt

Norma L. Thoms and Family

SUSTAINING MEMBER

Douglas and Ann Anderson

Martin and Jill Baumgaertner

Marguerite Bloch

Paul and Victoria Bouman

Victor and Irene Brandt

Rev. Robert and Margaret Burke

Robert and Marilyn Busse

William and Karen Clapp

Rev. Michael and Rebekah Costello

Drs. John and Karen Danford

Gerald and Magdalena Danzer

Ken and Virginia Folgers

Paul and Rachel Frese

Carl and Donna Gruendler

Rev. Paul and Dorothy Haberstock

Jon and Jane Hall

Rev. Paul and Leona Heckmann

Frederick L. and Junita Borg Hemke

Richard* and Gloria Hillert

Michael S. Jeffries

Mark and Kristen Lenhardt

Carol Lewis

Wayne and Phyllis Lucht

Paul and Jean Meier

Robert Oexeman

Margaret and James Schlegel

Stephen and Hildegarde Schmidt

Rhea Sprecher

William T. Stewart

Gerlinde Van Driesen

Karen Waltze

Cary Webb

Laura and Dennis Zimmer

* deceased

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GUARANTOR

In Honor of Dan Krout

In Honor of Carl and Noël Schalk

In Honor of Tom and Doris

Strieter’s 50th wedding anniversary

David and Gay Anderson

Donald and Marion Balster

Herbert Baumesberger

Don and Carolyn Becker

Ronald J. Benes

Kim and Karen Brunssen

Margaret Busse

Mr. and Mrs. Eugene Carlson

Dean and Kathy Christian

Arlo and Stacy Deibler

Jim Dittman

Phyllis Duesenberg

Rev. Hans and Mrs. Donna Dumpys

Edith L. Ewert

Olinda Fink

James and Sharman Galezewski

Roselyn Gieschen

Art and Pat Grundke John and Nola Gustafson

Robert and Kathy Hale

Robert and Kathryn Hayes

David Heim and Barbara Hofmaier

Don and Marion Heinz

Mary Alice & David Helms

Patricia M. Herendeen

Gary and Ackli Howell

Rev. Timothy and Royce Hubert

Carla G. Jankowski

Ms. M. Elaine Jennings

Gerald and Marj* Koenig

David and Patricia Leege

Kathryn Lucht

Mark Lucht

Rev. F. Dean and Beverly Lueking

Mr. and Mrs. Richard McAuliffe

Laurel and Dennis McMahon

Carlos and Susan Messerli

David Moeller

Carol A. Olsen

Mary and Jon* Olson

Melba J. Panhorst

Randy and Janet Peterson

Ruth Rehwaldt

Harold and Caryl Rohlfing

Susan Ross

Donald and Doris Rotermund

Marilyn Rotermund

John and Carolyn Sanderson

Dr. Carl and Noël Schalk

James Scherer

Mr. and Mrs. James Schlegel

Patricia W. Schmidt

Rev. Larry and Rosemary Schneekloth

Deborah Seegers

Rev. Dr. and Mrs. R.L. Shaner

Mrs. Laurel Shea

William T. Stewart

Valerie and John Stodden

Rosalie Streng

Tom and Doris Strieter

Jonathan Sullivan and Marilyn Fuller

Al and Irmgard Swanson

Nancy Hagen and Andy Tecson

Howard L. Vander Meer

Albert R. Vollrath

Grace and Will Wagner

Steven and Susan Wente

Dorothy and Wesley Wilkie

Jacqueline and Robert Will

George and Nancy Wohlford

* deceased

SPONSOR

Melvin and Joan Mues

PATRON

Sal and Diane Amati

Hildegard Baxpehler

Rev. William Beckmann

Anne and Bob Benson

Lois and Grayson Brottmiller

Bill and Marion Brown

Mark Bouman and Mary Jane Keitel

Bill and Jeannie Cooper

Tom, Donna, and Julie Day

John and Eileen D’Ambrose

Charles and Helene Debelak

Mary Eifrig

Howard Eggert

Dr. Karen Marie Erickson

Bill and Carol Ewald

Thomas and Grazyna Ewert

Rev. and Mrs.Daniel Gensch

Audrey Claver Haak

Kenneth and Ione Heinitz

Phillis Hindery

Dr. Natalie Jenne

Elizabeth Kurth

Kenneth and Kathryn Knops

Dan and Kathy Kowitz

Stephen Kurek

Dr. and Mrs. Charles Laabs

Mr. and Mrs. Byron Lympany

Melvin W. Mueller

Mr. and Mrs. Thomas Noll

John and Peggy Poellot

Alice Pursell

Ernest and Kathleen Ricketts

Barbara Rinnan

Rev. and Mrs. Walter Ruehrdanz

Ruth Schnell

Mr. and Mrs. Donald Schmidt

Patricia Spencer

Rev. and Mrs. David Walker

Rev. Gary and Linda Weant

Lois Warnke

George Wear

Ms. Angela Zabransky

Portativ Organ tuning is graciously provided by Leonard Berghaus.

Harpsichord tuning is graciously provided by Dennis Zimmer.

The presentation of the Bach Cantata Vespers is made possible

primarily by the contribution of many donors who are hereby

gratefully acknowledged. Please inform the Grace Church office of

any inadvertent errors or omissions.

If you would like to add your name to our Bach Cantata Vespers

mailing list or would like to contribute to the series, a form is

located on tables in the narthex and in the atrium.

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www.bachvespers.org

March 21 Cantata 1 Wie schön leuchtet der Morgenstern

(How Lovely Shines the Morning Star) Homilist: Karen Salvo Hawkins, Christ the King Lutheran Church, Columbia, South Carolina

Extended thirty-minute prelude beginning at 3:30 p.m.

Prelude: Brandenburg Concerto #1, BWV 1046 and

Organ prelude: Robert D. Hawkins, Lutheran Theological Southern Seminary, Columbia, South Carolina

April 25 Cantata 4 Christ lag in Todesbanden

(Christ Lay in Death’s Strong Bands) Homilist: Mark Hanson, Presiding Bishop, Evangelical Lutheran Church in America Organ prelude: Laura Zimmer, Grace Lutheran Church, River Forest, Illinois

May 23 Cantata 172 Erschallet, ihr Lieder, erklinget, ihr Saiten! (Ring Forth, You Songs, Resound, You Strings!) Homilist: Benjamin Stewart, Lutheran School of Theology at Chicago, Chicago, Illinois

Prelude: J. M. Molter, Sonata Grossa for 3 Trumpets, 2 Oboes, Timpani, Strings, and Continuo

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Announcing Grace’s Second Bach Cantata Camp

in cooperation with Concordia University Chicago

For high-school students

Vocal and instrumental tracks available

Day camp and full-time residential options available

July 25–30, 2010

For more information visit www.bachvespers.org/camp